The Female Gaze by Leigh Witchel What makes a good man? Sons of Echo began as an exploration by Daniil Simkin of this…
The Old and the New by Karen Backstein Since Paul Taylor’s death, his company, now run by Michael Novak, has maintained a careful balance in…
La danse sur l’herbe by Leigh Witchel Some things are too wonderful to erase. Pam Tanowitz and her collaborators, composer Caroline Shaw and artist…
The Panic Room by Leigh Witchel It felt as if Kimberly Bartosik had choreographed the last year. bLUr, her piece for a quintet…
The Poem of Force by Leigh Witchel Hervé Koubi’s What the Day Owes to the Night is filled with acrobatic stunts that could take…
Second Time Was Not the Charm by Karen Backstein Not everything gets better the second time around. American Ballet Theatre presented a reprise of its Innovations…
Jukebox (Revisited) by Leigh Witchel Assemble a group of your favorite songs, and choreograph a dance to them. What could possibly go…
Past, Present . . . and Future? by Karen Backstein American Ballet Theatre’s Innovations Past and Present program began with a world premiere by Brazilian choreographer Juliano…
Internationalism by Leigh Witchel Dutch National Ballet paid New York City a full company, full evening visit for the first time…
An Uncertain Limbo by Leigh Witchel How do you make a dance when it’s an effort to move? As the program for Zvi…
